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Book Categories |
| Foreword | 11 | |
| Introduction | 13 | |
| 1 | The Religious and the Secular in Medieval Acting | 27 |
| 2 | The Elizabethan Actor Turns Pro | 32 |
| 3 | Enter the Actress: Restoration Liberation and Eighteenth-Century Developments in Acting | 38 |
| 4 | The Early Nineteenth Century: Acting in the Grand Manner | 49 |
| 5 | The Fin de Siecle Foundations of Modern Acting | 58 |
| 6 | The Edwardian Theatre and the Establishment of Professional Training | 69 |
| 7 | The French Avant-Garde: Copeau - 'The seed from which we have all grown' | 76 |
| 8 | The Russian 'Revolution': Stanislavski's Studio Schools | 85 |
| 9 | The German Twenties: Acting and Politics with Piscator and Brecht | 101 |
| 10 | The 'Turbulent Thirties': Saint-Denis, Guthrie, Clurman, Doone, Artaud and Barrault - The Seminal Initiators | 120 |
| 11 | A Note on the Fifties' Watershed at Sloane Square and Stratford East: Actors Link the 'Class Divide' | 152 |
| 12 | The European Gurus: Actors on a String with Brook, Kantor, Grotowski, Strehler, Stein, Planchon, and Mnouchkine | 158 |
| 13 | The American Actor in Search of a World Role | 191 |
| 14 | The Nineties in Britain: Actors at the Mercy of Market Forces, but the National Theatre Dream Comes True | 198 |
| 15 | New Forms, New Language, Old Needs | 211 |
| 16 | 'Controlled Environments', 'Virtual Reality', and 'Found Spaces' | 224 |
| 17 | Towards Ritual and a Renaissance of the Mysterious | 238 |
| Notes and References | 256 | |
| Index | 281 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
William Short
reviewed The Making of the Professional Actor on May 14, 2016
The Making of the Professional Actor
I'm definitely part of a niche audience because I'm a leader in my improv community (performer on a house team, coach of an indie team, and producer), AND I'm also an arts education and policy researcher. For me, this book is essential reading because it provides a concise history about improv in Chicago, and it examines early roots with commedia d'el arte and Spolin's theater games, then takes us on a tour of improv as we know today. The chapter about the first wave gives a clear understanding about the ways that dominant cultures (e.g., White American men in the Midwest) laid the standards (of their time) for satire and "masculine" vs. "feminine" modes of performing comedy. And subsequent chapters give a succinct tour of the ways that second and third wave theaters deviate from their predecessors and, essentially, define their own styles of improv. I find this book especially valuable because I am a man of color in a small improv community, so as I work with my peers to help build the community, I can learn from the lessons of history and promote a more inclusive theaters and educational programs. To me, improv should always be evolving, so this information about history is better helping me make informed decisions about policy in my community.
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